In her time, 18th-century French artist Adélaïde Labille-Guiard was considered a trailblazer for women in the arts. Not only was she one of the first women accepted into the prestigious Académie Royale in France—at a time when only up to four women were admitted each year—but she also was a champion for young female artists. She would hold mentorships and studio sessions for them and in 1790 proposed to the Académie Royale’s governing board that women should be admitted in unlimited numbers and serve on the board. Both motions were approved. She also was a painter for the Royal family, with one of her commissions coming from the King’s brother Count of Provence, who was later Louis XVIII of France.
However, three centuries later—even though she has artwork in public collections including the Metropolitan Museum of Art and the National Gallery of Art—LabilleGuiard’s name is mostly forgotten. It has gone the way of many of her contemporaries, including Elisabeth Louise Vigée Le Brun, who are often overlooked for their male counterparts of the period.
Since she was a young girl, artist Gabriela Gonzalez Dellosso has gone on trips to the Met. In 2008, while preparing for her first solo exhibition in New York City, Dellosso took a break to visit the famed institution accompanied by her mother. Making her way through the halls, as she had many times throughout her life, she stumbled across a painting she had never noticed before. Whether it was just coming on display, or one she happened to skip over, it immediately captivated her attention. The painting was Labille-Guiard’s SelfPortrait with Two Pupils, Marie Gabrielle Capet (17611818) and Marie Marguerite Carreaux de Rosemond (died 1788).
Denne historien er fra March 2020-utgaven av American Art Collector.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
Allerede abonnent ? Logg på
Denne historien er fra March 2020-utgaven av American Art Collector.
Start din 7-dagers gratis prøveperiode på Magzter GOLD for å få tilgang til tusenvis av utvalgte premiumhistorier og 9000+ magasiner og aviser.
Allerede abonnent? Logg på
Guardians of the Temple – Simon Dinnerstein reflects on The Fulbright Triptych 50 years later.
The Palmer Museum of Art at Penn State University exhibits Simon Dinnerstein's The Fulbright Triptych haunts the visual lexicon of 20th century American representational art. Fifty years have passed since Dinnerstein completed the painting in 1974.
A City Perspective
Leslie Gaduzo has always been interIested in art. Since childhood, he has been drawing constantly, from single point perspective drawings at age 10 to complex architectural drawings.
Living Legacy
The Butler Institue hosts Allied Artists of America's 110th Annual Juried Exhibition.
Elegant yet Approachable
The second edition of the RTIA Show presents even more art to explore and expanded special programming.
Figuratively Speaking
New York has always been an epicenter of artists on the edge of excellence, pushing the envelope and finding their voices.
JAMES AYERS: The Importance of Play
Like many artists, James Ayers' work took a turn during the Covid-19 pandemic. Seeing the enjoyment his kids took from playing with paint in his studio and exploring their creativity inspired him.
GINA MINICHINO: Playing with Food
Gina Minichino started her journey in visual arts because of Charles Schulz. \"He was my earliest influence for drawing and the reason I wanted to be a cartoonist,\" she says.
Island Light
The Cuttyhunk Island Artists' Residency is held in a sprawling, 100-year-old house on an island off the southern coast of Massachusetts.
Solitary Forms
Hogan Brown has been working with Arcadia Contemporary for two and half years and is excited to be featured in his first solo show at the gallery. He doesn't take for granted the many talented figurative painters Arcadia represents and is thrilled to be among them.
Living the Dream
Counterintuitively, David Gluck was a painter before taking up tattooing little more than a decade ago. While skin is a completely different substrate and ink a far cry from oil paint, the skills must be transferrable to some degree because there is a wait-time of nine months to get an appointment with him.